Posted in: Disc Reviews by Gino Sassani on June 11th, 2018
Remember when Eddie Murphy was funny? You know, before the fat suites and fart jokes. I guess many of you hadn’t even been born yet. Ronald Reagan was still president of these United States. CD’s were the latest thing. VHS was just catching on. The Rams were still in L.A., and it was the Cardinals that were playing in St. Louis. No one had ever heard about DVD, Blu-ray, 4K, MP3, or Wi-fi. It was 1988 and Eddie Murphy was staring in Coming To America. This is the second of 2 classic 80's Eddie Murphy films that Paramount is delivering on Blu-ray this week. They happen to be 2 of his best films in 40 years.
I’ve long considered this the last funny Eddie Murphy film. It just seems like he’d turned to gimmicks and quick physical humor. He got lazy, and you know what? So did I. I decided it wasn’t worth the effort to get my seat into those theater seats to see him clown around anymore. So journey with me back to a magical time when Murphy was still hungry and he let his talent shine.
Posted in: Disc Reviews by Brent Lorentson on June 7th, 2018
“I have a feeling we’re not in Kansas anymore.”
The infamous line from the classic The Wizard of Oz is what kicks off this film, and this is simply as close as it gets to ever achieving the greatness of the original film. Over the years we have had several remakes and sequels to the story we love that takes us on a journey through the magical world of Oz, so when a steam-punk version of the material came along, it was something I got a little excited for. Unfortunately the version of the film we get this time around seems to be full of fun ideas but nothing that actually delivers to the screen.
Posted in: Disc Reviews by Gino Sassani on June 6th, 2018
"Look at 'em. Every day people are buying more and more of them Amazon and Google thingies while we just sit here and lose our jobs. It ain't right. Automated personal assistants and self-driving trucks. Whatever happened to people jobs?"
Not sure machines will ever take over writing good television. With the release of season 21, the one-year experiment South Park had with the year-long story arc has come to an end. I think it's more than fair to say that the vehicle just doesn't work on a show that has always flipped off the idea of continuity. Kenny hardly ever dies anymore, but that gimmick was a big riff on the idea of show's retaining story ideas from one episode to the next. That isn't to say that elements haven't been passed on over the years, and this season absolutely keeps many of last year's arc elements intact. It just doesn't flow as one long story. South Park is back to the format that we all have known and loved for over 20 years now. If it ain't broke, don't fix it, and that goes for you guys, Stone and Parker.
Posted in: Disc Reviews by J C on June 6th, 2018
“We can’t take any credit for our talents. It’s how we use them that counts.”
Much has been made about the fact that Ava DuVernay’s A Wrinkle in Time is the most expensive movie ever directed by a woman of color, carrying a reported $103-million price tag. The good news is the filmmaker has absolutely infused her own personality and perspective into this live-action Disney spectacle (no small feat, by the way). The bad news is that DuVernay has taken those considerable resources and made a wildly uneven movie that, at various points, somehow manages to look both way more expensive and way cheaper than its budget would suggest.
Posted in: Disc Reviews by J C on June 6th, 2018
“The nail that sticks out gets hammered down.”
Freak Show centers on a flamboyant, fish-out-of-water teen who doesn’t fit in among his fellow high schoolers. The movie — a promising directorial debut from Trudie Styler, aka the wife of legendary musician Sting — works best when it finally lands on the notion that practically every teenager feels like a “freak” at one point or another. It’s a good, worthwhile message; the problem is other aspects of this film are about as subtle as Billy’s wardrobe and makeup choices.
Posted in: Disc Reviews by Gino Sassani on June 3rd, 2018
"All this has happened before and will all happen again. But this time it happened in London. It happened on a quiet street in Bloomsbury. That corner house is the house of the Darling family, and Peter Pan chose this particular house because these were people who believed in him..."
In 1953, with a little help from some Walt Disney magic, generations of children, and adults, of course, would learn to believe in the boy who never grew up. Peter Pan began in the imagination of writer J. M. Barrie. He appeared in a number of works from the Scottish author beginning in 1902 with The Little White Bird. The character had always been a favorite of Walt Disney himself, and it was originally intended as his second animated feature following Snow White. It became quickly apparent that the technology wasn't quite where he needed it to be to tell the story he wanted to tell. It was put on a shelf, but never forgotten. The rights to the character were willed to the children of a children's hospital in London, and it was from there that Walt managed to obtain the film rights for the animated feature we have today. Peter Pan has enjoyed success in pretty much every medium possible. There have been hugely popular stage productions where Peter was usually played by a woman. The character has appeared in film, music, comics, television, radio plays and, of course, printed form. He's an endearing and certainly enduring character who has now added high-definition Blu-ray to the list.
Posted in: Disc Reviews by Michael Durr on June 2nd, 2018
Much to the dismay of probably most of my family and friends, I like to watch lots of weird films. Films directed by David Lynch, Planet of the Apes movies, and Johnny Mnemonic (I freaking love that movie) among many others I have watched over and over again. This is even more true with animation as I love to find clever styles that goes beyond convention and still produce a wonderful and thrilling story. So today, I review Satellite Girl and Milk Cow, a Korean animation film that is sure to test the boundaries of my fondness for weirdness. Is it too much for this critic or is it right in my sweet spot? Let's find out.
Above the Earth, we see various satellites circle the great planet. One of those satellites is named KITSAT-1 who takes pictures of the Korean Peninsula and provides other measurements. But like all things, KITSAT-1 has started to break down and stop working. Instead she uses her time to focus in on various sounds, sounds like a boy playing a wonderful song on a piano at a lonely club. The sound captivates her so much, she decides to speed towards Earth to seek it out.
Posted in: Disc Reviews by Michael Durr on June 2nd, 2018
Much to the dismay of probably most of my family and friends, I like to watch lots of weird films. Films directed by David Lynch, Planet of the Apes movies, and Johnny Mnemonic (I freaking love that movie) among many others I have watched over and over again. This is even more true with animation as I love to find clever styles that goes beyond convention and still produce a wonderful and thrilling story. So today, I review Satellite Girl and Milk Cow, a Korean animation film that is sure to test the boundaries of my fondness for weirdness. Is it too much for this critic or is it right in my sweet spot? Let's find out.
Above the Earth, we see various satellites circle the great planet. One of those satellites is named KITSAT-1 who takes pictures of the Korean Peninsula and provides other measurements. But like all things, KITSAT-1 has started to break down and stop working. Instead she uses her time to focus in on various sounds, sounds like a boy playing a wonderful song on a piano at a lonely club. The sound captivates her so much, she decides to speed towards Earth to seek it out.
Posted in: Disc Reviews by Brent Lorentson on May 24th, 2018
“I find giants…I hunt giants…I kill giants”
This is one of those films that for some reason didn’t find an audience during a theatrical run, but I can guarantee there are viewers who are going to connect with this film and embrace it for years to come. I say this because only a few years ago there was a film that was similar in tone, A Monster Calls, and to be honest, that film devastated me as we went along with the main character as he and his imaginary monster helped him cope with his mother who is dying from cancer. I Kill Giants is at face value the same film, only told through the eyes of a young girl, though despite the films being so similar, it doesn’t lessen the film’s overall impact in the least. Sometimes a good story simply works. No matter how much you may dress it up, its emotional impact can remain the same.
Posted in: Disc Reviews by Gino Sassani on May 20th, 2018
"Welcome to game night".
Everybody loves playing games. OK, most people like playing games. Friends have been getting together for game nights since there have been games. From the couples’ bridge days of the 1950's to poker night with the guys, most of us have gotten together to play some kind of a game with friends. The thing about games is that they're frivolous. Playing games with some buddies is a good excuse to kill a few hours, maybe have a few drinks. You're not solving the world's problems, and it's usually just a simple night of entertainment. The same can be said for New Line Cinema's Game Night starring Jason Bateman, Rachel McAdams, and Kyle Chandler. It's not an important film, and it isn't going to go down in the books as a timeless classic. It's a chance to get together with a few of our own friends and spend about 100 minutes or so having a few laughs and taking a break from all of those problems we're not solving. It wouldn't hurt to pick up an extra-large tub of popcorn. Yeah, it'll kill you, but then you won't have so many of those problems, right?
